[Commlist] Music, Sound, and the Moving Image 12.2 published

Music, Sound, and the Moving Image Volume: 12, Number: 2 (December 2018)

/Music, Sound, and the Moving Image/ is the first international 
scholarly journal devoted to the study of the interaction between music 
and sound in moving image media – film, television, music video, 
advertising, computer games, mixed-media installation, digital art, live 
cinema, et alia.

Co-edited by Helen Hanson (University of Exeter), Jay Beck (Carleton 
College) and Ian Gardiner (Goldsmiths), the journal is truly 
interdisciplinary, inviting contributions across a range of critical 
methodologies, including musicology and music analysis, film studies, 
popular music studies, cultural theory, aesthetics, semiotics, 
sociology, marketing, sound studies, and music psychology.

You can keep up to date with the journal by clicking here 
<https://online.liverpooluniversitypress.co.uk/action/doUpdateAlertSettings?action=addJournal&journalCode=msmi> 
to sign up to new issue alerts, and can learn more about the title at 
its webpage here <https://online.liverpooluniversitypress.co.uk/loi/msmi>.

The above issue is now available online at: 
https://online.liverpooluniversitypress.co.uk/toc/msmi/12/2?ai=s4&ui=51qs&af=T 


*Contents:*

    
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Introduction 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.6?ai=s4&ui=51qs&af=T> 


    
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When Britannia Ruled the Sound Waves: Britain’s Transition to Sound in 
Its European Context 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.7?ai=s4&ui=51qs&af=T> 


    Geoff Brown


   ------------------------------------------------------------------------

The Transition from the Silent into the Sound Era in German Cinema: The 
Innovative Use of Sound in Pabst’s Westfront 1918 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.8?ai=s4&ui=51qs&af=T> 


    Maike Helmers


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‘Have You a Happy Voice?’: Women’s Voices and the Talkie Revolution in 
Britain 1929–1932 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.9?ai=s4&ui=51qs&af=T> 


    Laraine Porter


   ------------------------------------------------------------------------

Tantalising Fragments: Scotland’s Voice in the Early Talkies in Britain 
and Jenny Gilbertson’s The Rugged Island: A Shetland Lyric (1934) 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.10?ai=s4&ui=51qs&af=T> 


    Sarah Neely


   ------------------------------------------------------------------------

The Silent Film Shortage: The Cinematograph Exhibitors’ Association and 
the Coming of Sound, 1928–1929 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.11?ai=s4&ui=51qs&af=T> 


    Nyasha Sibanda


   ------------------------------------------------------------------------

Empowering Cinema Operators in the USA and UK, 1927–1933 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.12?ai=s4&ui=51qs&af=T> 


    John Izod


   ------------------------------------------------------------------------

Responses of the Film Industry and Audiences to the Introduction of 
Sound Cinema in Turkey (1929–1933) 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.13?ai=s4&ui=51qs&af=T> 


    Özge Özyilmaz


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Variable Areas: The Transition to Sound and the Birth of the Robot Voice 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.14?ai=s4&ui=51qs&af=T> 


    Bryony Dixon


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Contributors to Issue 12:2 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.15?ai=s4&ui=51qs&af=T> 


    
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Index to Volume 12 
<https://online.liverpooluniversitypress.co.uk/doi/10.3828/msmi.2018.16?ai=s4&ui=51qs&af=T> 



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